Mario Martone Talks Cannes-Bound ‘Fuori’ Starring Valeria Golino Who ‘Was Imbued With the Spirit of Goliarda Sapienza’ as First Clip Is Revealed (EXCLUSIVE)

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Renowned Italian filmmaker Mario Martone, who contended for the Cannes Palm d’Or in 2022 with “Nostalgia,” will soon return to the Croisette with “Fuori.” This upcoming drama is set in 1980s Rome and provides a glimpse into a significant phase in the life of feminist author Goliarda Sapienza, famously recognized for her posthumously published erotic novel titled “The Art of Joy.

The production company, Indigo Film, in partnership with RAI Cinema, Fremantle’s The Apartment, Srab Films, and La Pact Production, has granted exclusive access to a clip of their upcoming drama. This collaboration also includes Fremantle for co-production, while Goodfellas is responsible for international sales. The film is set to premiere in Italy on May 22nd.>

The movie ‘Fuori’ showcases Valeria Golino as Sapienza, who finds herself in Rome during the 1980s following the rejection of her book ‘The Art of Joy’ by Italian publishers. As a result, she winds up in prison for stealing jewelry. While incarcerated, she forms a powerful connection with another inmate, Roberta, played by Matilda De Angelis (‘Citadel: Diana’). This bond strengthens significantly once they both regain their freedom.

By the way, Golino had recently been in Cannes for overseeing the television series adaption titled “The Art of Joy”, which is set in Sicily during the early 1900s and serves as a director.

Martone discussed his concept for “Fuori” with EbMaster. He explained that this project illustrates a unique relationship between two female characters, who initially met each other while incarcerated. Moreover, it can be considered a cinematic journey through the city of Rome in 1980, similar to a road movie.

After years of being overlooked, the works of Goliarda Sapienza have suddenly sparked intense interest in Italian literary circles. In my recent review, I chose to delve into the timeless themes and unique narrative styles that have made her novels so captivating.

Ippolita di Majo, who is both the screenwriter and Martone’s partner, came up with an intriguing notion: to focus on a single summer and the friendship between these two characters, without any hint of it being a biopic. The fact that she wrote “The Art of Joy” adds context, but the film is not based on a true story. This concept immediately piqued my interest. The opportunity to bring these captivating characters to life, one as a writer and the other as a young woman with a criminal past and political activism, was very appealing. I found this idea particularly alluring. These were two compelling female characters, and the possibility of creating a road trip through Rome in 1980 added an exciting layer to the story. This idea truly captivated me.

Discuss with me your experiences collaborating with Valeria Golino, a key figure in bringing this author’s work and her character into focus. Additionally, share insights on working alongside Matilda and the rest of the cast.

Let’s delve into your collaboration with Valeria Golino, who played a significant role in highlighting this writer’s narrative and central character. Also, could you tell me about your time working with Matilda and the other talented actors?

Lastly:

Can you share some details about your professional journey working alongside Valeria Golino, instrumental in showcasing this author’s work and protagonist? Furthermore, what was it like collaborating with Matilda and the rest of the cast?

It’s easy to understand that Valeria embodied the essence of Goliarda Sapienza. Working with her was a dream come true for us, as we’ve longed to create a film together since our childhood days. There was a profound bond and affection between her and the cast members. I believe this is crucial, as it’s palpable in the movie. To put it simply, they poured their hearts into their performances. The film has a meandering quality, with extended scenes that evoke a sense of aimless wandering. This carefree drifting is reflected in the film’s direction, as they needed to follow my lead closely. In summary, our collaboration was vibrant and spontaneous – a shared spirit of freedom, if you will. The actors were always eager to collaborate with the unique ideas I presented, even when they seemed peculiar.

As a devoted admirer, I must say that the stunning imagery in “Fuori” truly brings to life the elegant and nostalgic Rome of the early 1980s. I’d be thrilled to share some insights about collaborating with our exceptional cinematographer, Maestro Paolo Carnera.

Together, we sought to capture the essence of a bygone era – the soft glow of streetlights, the rich textures of ancient architecture, and the vibrant energy that filled the city streets. Each scene was meticulously crafted with Paolo’s expert eye for detail, creating a visual tapestry that immerses viewers in the story.

Our collaboration was not just about technical aspects; it was an artistic exploration of the soul of Rome during that transformative time. I feel incredibly fortunate to have had Paolo Carnera as my partner in this cinematic journey, and I eagerly await the opportunity to work with him again in the future.

Our goal was to make the film appear as if it were shot on film, despite being digitally filmed. To achieve this, we drew inspiration from the cinematography of that era. In this movie, I employed zooms, along with various elements typical of ’70s cinema that are seldom used today. Even the aspect ratio of the film is 1:66 [AKA European Widescreen], a format rarely seen nowadays. Instead of fabricating images using VFX, we opted for genuine images. We filmed in real locations, including the prison. Goliarda’s apartment was her actual apartment during that time. The Rebibbia penitentiary in Rome is the real prison, and the prisoners portrayed are actual inmates.

Discuss with me why you’ve incorporated multiple songs by the British multi-instrumentalist Robert Wyatt, who is known for founding Soft Machine, in your work.

In my filmmaking process, I seldom ponder about music prior to shooting. Instead, I often rely on pre-existing tunes, which I usually tweak during editing. One such instance occurred when I was searching for a resonant female voice to provide an evocative off-voice, reminiscent of a Goliarda. However, we couldn’t find the ideal voice. All of a sudden, it seemed as if from some hidden recess in my mind, Robert Wyatt emerged. His delicate yet vibrant voice, coupled with the underlying sense of tension found in his songs, resonated with me. I then realized that gender didn’t matter; what was crucial was the soul behind the voice. And there, all at once, I felt a profound connection between Wyatt’s soul and the soul of Goliarda Sapienza.

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2025-05-09 16:59